I did not find this song in fake book I had in handy but I think these would not be changes played in jam session. I think ‘problem areas’ are :-bars 9-12 of A1. (I think G#dim is common substitution for Abm7b5 & Db7)-bars 6-8 of A2 (I think this is fancy way of playing v7 – I7 – IVmaj7).-bar 13 of A2 to ending Also “| Ebmaj Ab7 | Gm7 C7 |” phrases can be simplified to plain Ebmaj7 for 2 bars or something like that.Are there *the* changes for this song or/and how would you play it?Please discuss!

That was really helpfull -- I really like those first two, but I am too used to hearng Joe Pass ending to figure how to start it from ii-chord.

I did find fake book changes, though they are at home. They had different ending (A2 section was 20 bars I think) and 9-16 of A1 were something like this:
Gmaj7 | G#dim | D/A A#dim| Bm D7/A | Gm | C7 | Fm | Bb7 |

That's clever way to modulate back to Eb -- Gm (iv of D) becomes iii of Eb. I think Ted Greene would call it pivot chord in Mark Levy Lessons.

Sometimes people play 16 bars in the solos, but I don't remember how that goes.

There are indeed versions where they go to the gm7 in stead of cm7 in the last line of the first half. I don't hear the melody like that but it does fit. There's a Stan Getz version of this song too byt the way.

I think that you'll find that most modulations in standards have pivot chords, but usually they are dominants which are in both keys. It is not a Ted Greene expression it is from classical harmony.